Nap Takers

Despite all this activity Churchill’s daily routine changed little during these years. He awoke about 7:30 a.m. and remained in bed for a substantial breakfast and reading of mail and all the national newspapers. For the next couple of hours, still in bed, he worked, dictating to his secretaries.

At 11:00 a.m., he arose, bathed, and perhaps took a walk around the garden, and took a weak whisky and soda to his study.

At 1:00 p.m. he joined guests and family for a three-course lunch. Clementine drank claret, Winston champagne, preferable Pol Roger served at a specific temperature, port brandy and cigars. When lunch ended, about 3:30 p.m. he returned to his study to work, or supervised work on his estate, or played cards or backgammon with Clementine.

At 5:00 p.m., after another weak whisky and soda, he went to be for an hour and a half. He said this siesta, a habit gained in Cuba, allowed him to work 1 1/2 days in every 24 hours. At 6:30 p.m. he awoke, bathed again, and dressed for dinner at 8:00 p.m.

Dinner was the focal-point and highlight of Churchill’s day. Table talk, dominated by Churchill, was as important as the meal. Sometimes, depending on the company, drinks and cigars extended the event well past midnight. The guests retired, Churchill returned to his study for another hour or so of work.

Nearly every morning of his life, Mister Rogers has gone swimming, and now, here he is, standing in a locker room, seventy years old and as white as the Easter Bunny, rimed with frost wherever he has hair, gnawed pink in the spots where his dry skin has gone to flaking, slightly wattled at the neck, slightly stooped at the shoulder, slightly sunken in the chest, slightly curvy at the hips, slightly pigeoned at the toes, slightly aswing at the fine bobbing nest of himself... and yet when he speaks, it is in that voice, his voice, the famous one, the unmistakable one, the televised one, the voice dressed in sweater and sneakers, the soft one, the reassuring one, the curious and expository one, the sly voice that sounds adult to the ears of children and childish to the ears of adults, and what he says, in the midst of all his bobbing-nudity, is as understated as it is obvious: "Well, Tom, I guess you've already gotten a deeper glimpse into my daily routine than most people have."

ONCE UPON A TIME, a long time ago, a man took off his jacket and put on a sweater. Then he took off his shoes and put on a pair of sneakers. His name was Fred Rogers. He was starting a television program, aimed at children, called Mister Rogers' Neighborhood. He had been on television before, but only as the voices and movements of puppets, on a program called The Children's Corner. Now he was stepping in front of the camera as Mister Rogers, and he wanted to do things right, and whatever he did right, he wanted to repeat. And so, once upon a time, Fred Rogers took off his jacket and put on a sweater his mother had made him, a cardigan with a zipper. Then he took off his shoes and put on a pair of navy-blue canvas boating sneakers. He did the same thing the next day, and then the next... until he had done the same things, those things, 865 times, at the beginning of 865 television programs, over a span of thirty-one years. The first time I met Mister Rogers, he told me a story of how deeply his simple gestures had been felt, and received. He had just come back from visiting Koko, the gorilla who has learned--or who has been taught--American Sign Language. Koko watches television. Koko watches Mister Rogers' Neighborhood, and when Mister Rogers, in his sweater and sneakers, entered the place where she lives, Koko immediately folded him in her long, black arms, as though he were a child, and then... "She took my shoes off, Tom," Mister Rogers said.

Koko was much bigger than Mister Rogers. She weighed 280 pounds, and Mister Rogers weighed 143. Koko weighed 280 pounds because she is a gorilla, and Mister Rogers weighed 143 pounds because he has weighed 143 pounds as long as he has been Mister Rogers, because once upon a time, around thirty-one years ago, Mister Rogers stepped on a scale, and the scale told him that Mister Rogers weighs 143 pounds. No, not that he weighed 143 pounds, but that he weighs 143 pounds.... And so, every day, Mister Rogers refuses to do anything that would make his weight change--he neither drinks, nor smokes, nor eats flesh of any kind, nor goes to bed late at night, nor sleeps late in the morning, nor even watches television--and every morning, when he swims, he steps on a scale in his bathing suit and his bathing cap and his goggles, and the scale tells him he weighs 143 pounds. This has happened so many times that Mister Rogers has come to see that number as a gift, as a destiny fulfilled, because, as he says, "the number 143 means `I love you.' It takes one letter to say 'I' and four letters to say `love' and three letters to say `you.' One hundred and forty-three. `I love you.' Isn't that wonderful?"

THE FIRST TIME I CALLED MISTER ROGERS on the telephone, I woke him up from his nap. He takes a nap every day in the late afternoon--just as he wakes up every morning at five-thirty to read and study and write and pray for the legions who have requested his prayers; just as he goes to bed at nine-thirty at night and sleeps eight hours without interruption.

Begley is particularly astute on the bizarre organization of Kafka's writing day. At the Assicurazioni Generali, Kafka despaired of his twelve-hour shifts that left no time for writing; two years later, promoted to the position of chief clerk at the Workers' Accident Insurance Institute, he was now on the one-shift system, 8:30 AM until 2:30 PM. And then what? Lunch until 3:30, then sleep until 7:30, then exercises, then a family dinner. After which he started work around 11 PM (as Begley points out, the letter- and diary-writing took up at least an hour a day, and more usually two), and then "depending on my strength, inclination, and luck, until one, two, or three o'clock, once even till six in the morning." Then "every imaginable effort to go to sleep," as he fitfully rested before leaving to go to the office once more. This routine left him permanently on the verge of collapse. Yet

when Felice wrote to him...arguing that a more rational organization of his day might be possible, he bristled.... "The present way is the only possible one; if I can't bear it, so much the worse; but I will bear it somehow."

It was [Max] Brod's opinion that Kafka's parents should gift him a lump sum "so that he could leave the office, go off to some cheap little place on the Riviera to create those works that God, using Franz's brain, wishes the world to have." Begley, leaving God out of it, politely disagrees, finding Brod's wish

probably misguided. Kafka's failure to make even an attempt to break out of the twin prisons of the Institute and his room at the family apartment may have been nothing less than the choice of the way of life that paradoxically best suited him.

It is rare that writers of fiction sit behind their desks, actually writing, for more than a few hours a day. Had Kafka been able to use his time efficiently, the work schedule at the Institute would have left him with enough free time for writing. As he recognized, the truth was that he wasted time.

The truth was that he wasted time! The writer's equivalent of the dater's revelation: He's just not that into you. "Having the Institute and the conditions at his parents' apartment to blame for the long fallow periods when he couldn't write gave Kafka cover: it enabled him to preserve some of his self-esteem."

Get up at 7:30 in the morning -- feed cats, drive daughter
to school, read the NY Times and drink chocolate milk. Do chores and
tasks and try to get time to make art. Make art. Take naps. Before each
5 minute nap I read a page or two. Right now I'm reading Thomas
Pynchon's Against the Day. Make art. Go to sleep at 3:00 in the morning.

After waking up between six and seven in the morning, I write till ten-thirty, generally at a lectern which
faces a bright corner of the room instead of the bright audiences of my professorial days. The first half-
hour of relaxation is breakfast with my wife around eight-thirty, and the creaming of our mail. One kind of
letter that goes into the wastepaper basket at once, with its enclosed stamped envelope and my picture, is
the one from the person who tells me he has a large collection of autographs (Somerset Maugham, Abu
Abdul, Karen Korona, Charles Dogson Jr., etc.) and would like to add my name, which he misspells.
Around eleven, I soak for 20 minutes in a hot bath, with a sponge on my head and a wordsman’s worry in
it, encroaching, alas, upon the nirvana. A stroll with my wife along the lake is followed by a frugal lunch
and a two-hour nap, after which I resume my work until dinner at seven. An American friend gave us a
Scrabble set in Cyrillic alphabet, manufactured in Newtown, Conn.; so we play skrebl for an hour
or two after dinner. Then I read in bed—periodicals or one of the novels that proud publishers
optimistically send us. Between eleven and midnight begins my usual fight with insomnia. Such are my
habits in the cold season. Summers I spend in the stumbling pursuit of lepidoptera on flowery slopes and
mountain screes; and, of course, after my daily hike of fifteen miles or more, I sleep even worse than in
winter. My last resort in this business of relaxation is the composing of chess problems. The recent
publication of two of them (in the Sunday Times and The Evening News of London) gave me more
pleasure, I think, than the printing of my first poems half a century ago in St. Petersburg.